The Fantastic Four
Band members Related acts
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line up 1 (1963-65) - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Joseph Pruitt -- baritone and second tenor vocals - Ralph Pruitt (RIP 2014) -- vocals
line up 2 (1965) NEW - Wallace 'Toby' Childs (RIP 1979) -- vocals (replaced William Hunter) - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Joseph Pruitt -- baritone and second tenor vocals - Ralph Pruitt (RIP 2014) -- vocals
line up 3 (1965-75) - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals NEW - Cleveland Horne (RIP 2000) -- first tenor vocals NEW - Earnest Newsome -- bass vocals - Joseph Pruitt -- baritone and second tenor vocals
line up 4 (1975-77) - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Cleveland Horne (RIP 2000) -- first tenor vocals - Joseph Pruitt -- baritone and second tenor vocals
line up 5 (1977-79) - Wallace 'Toby' Childs (RIP 1979) -- vocals - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Cleveland Horne (RIP 2000) -- first tenor vocals - Joseph Pruitt -- baritone and second tenor vocals NEW - Paul Scott -- bass vocals (replaced Ernest Newsome)
line up 6 (1985-2000) - Wayne Dixon -- vocals - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Cleveland Horne (RIP 2000) -- vocals - Paul Scott -- vocals
line up 6 (1985-2000) - Wayne Dixon -- vocals - 'Sweet' James Epps (aka James Hanson) (RIP 2000) -- lead vocals - Cleveland Horne (RIP 2000) -- vocals - Ralph Pruitt (RIP 2014) -- vocals - Paul Scott -- vocals
line up 6 (2000) - Wayne Dixon -- vocals NEW - Ralph Pruitt (RIP 2014) -- vocals - Paul Scott -- vocals
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- The Carstairs (Cleveland Holmes) - James Epps (solo efforts) - The Exceptionals (Cleveland Horne and Paul Scott) - The Prophets (Cleveland Horne and Paul Scott) - Tommy and Cleve (Cleveland Holmes) - The Volumes (Ernest Newsome)
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Genre: soul Rating: 4 stars **** Title: The Best of the Fantastic Four Company: Gordy Catalog: SS717 Country/State: Detroit, Michigan Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 1315 Price: $25.00
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Today folks associate the Detroit sound with Motown, but there were of score of other labels that captured that magical sound as well as Berry Gordy Jr. and company. One of them was Joanne Bratton and Eddie Wingate's Ric Tic Records. One of the most talented groups on the Ric Tic roster were The Fantastic Four. So here's a wonderful and largely overlooked mid-'60s Detroit soul group that had the misfortune of falling victim to factors largely beyond their control which ultimately saw their talents sold as if they were a market commodity rather than a talented vocal group.
Formed in 1965, the original Fantastic Four line-up featured Wallace 'Toby' Childs, James Epps, and brothers Joseph and Ralph Pruitt. Signed by Joanne Bratton and Ed Wingate's Detroit-based Ric Tic label, between 1965 and 1968 the group released a string of eleven 45s. Their catalog sold well throughout Detroit and they enjoyed a couple of national hits before Berry Gordy bought out the entire Ric Tic operation for a reported $1,000,000.
Released by Motown's Gordy label, the band's 1969 debut "The Best of the Fantastic Four" was a compilation of material taken from1967-68 Ric Tic singles. Included on the album were the following 45s:
- 1966's "Can't Stop Looking for My Baby" b/w "Can't Stop Looking for My Baby" (Ric Tic catalog RT 113) - 1966's "Can't Stop Looking for My Baby" b/w "Just the Lonely'"(Ric Tic catalog number RT-121) - 1967's "The Whole World Is A Stage" b/w "Ain't Love Wonderful" (Ric Tic catalog number RT-122) # 6 pop; # 63 R&B -
1967's "You Gave Me Something (And
Everything's Alright)" b/w "Romeo And - 1967's "To Share Your Love" b/w "As Long As I Live (I Live For You)" (Ric Tic catalog number RT-130) # 30 pop ; 68 R&B - 1968's "Goddess Of Love" b/w "As Long As The Feeling Is There" (Ric Tic catalog umber RT-134) # 39 pop - 1968's "Love Is A Many-Splendored Thing" b/w "Goddess Of Love" (Ric Tic catalog number RT-136) - 1968's "I've Got To Have You" b/w "Win Or Lose (I'm Going To Love You)" (Ric Tic catalog number RT-139) # 23 pop - 1968's "I Love You Madly" b/w "I Love You Madly" (instrumental) (Ric Tic catalog number RT-144)
I
love most of The Fantastic Four Ric Tic singles and I can see why Motown was
interested in picking up their contract. The story then got
strange. In
spite of the group's talent and having paid to acquire their back catalog, Motown management seemingly wanted nothing to
do with thes
"The Best of the Fantastic Four" track
listing 1.) I Love You Madly (Mike Hanks - William Garrett) - 3:03 rating: **** stars Anyone who doubted these guys were worthy competitors to better know Motown acts like The Four Tops, or The Temptations only needed to check out the sweet ballad "I Love You Madly". Their ninth single for Ric Tic., the song served as a wonderful showcase for Epps' growling lead vocals. I also always loved Joseph Pruitt's husky spoken word segment and the little guitar figure that rang throughout the tune. 2.) The Whole World Is a Stage (Albert Hamilton - Eddie Wingate - Eugene Hamilton) - 2:54 rating: **** stars Their third Ric Tic single, 1967's"The Whole World Is a Stage" was simply a gorgeous slice of mid-'60s soul with a melody, vocals, and lyrics that were as good as anything out of the Motown system. How could you not fall in love with the opening humming section ? Understandably it proved their biggest pop and R&B hit for Ric Tic. 3.) You Gave Me Something (and Everything's Alright) (Albert Hamilton - Norma Toney - Ronnie Savoy - Wiliiam Garrett) - 2:45 rating: *** stars To my ears the epic and heavily orchestrated "You Gave Me Something (and Everything's Alright)" was another track that sounded like a Motown production. Their fourth Ric Tic single was a pretty ballad with a killer refrain and would have been a career highlight for many other groups, but here it wasn't what I'd consider to be one of their best tracks. 4.) I've Got To Have You (Albert Hamilton - Herman Weems - William Garret) - 2:52 rating: **** stars With a pseudo jazzy arrangement, "I've Got To Have You" was an interesting track. Another ballad powered by some tasty guitar licks, Epps driving delivery was very reminiscent of David Ruffin on this one. rating: *** stars 5.) To Share Your Love ( Alfred Braggs - Deadric Malone) - 2:47 rating: ** stars Their fifth 45s, "To Share Your Love" was also the first disappointment. To my ears the track sounded like it had been crafted to appeal to mainstream white audiences. Very middle-of-the-road, bland and forgettable. Come to think of it, it sounded like a lot of mid-'60s Motown efforts. 6.) Goddess of Love (Albert Hamilton - Norma Toney) - 2:50 rating: **** stars "Goddess of Love" was a return to prime form and a classic mid-'60s soul tune that should have been a massive hit for the group. Interestingly the album version was quite different from the Ric Tic original. Whereas the single featured an elaborate arrangement, the Gordy version was a spare, stripped down take. The 45 version was better.
(side
2) Ah "Can't Stop Looking for My Baby" was one of the best heartbreak songs ever recorded ... and the back harmonies/handclaps are simply to-die-for. 2.) As Long As I Live (I Live For You) (Albert Hamilton - Norma Toney - William Garrett) - 2:42 rating: **** stars Darn if "As Long As I Live (I Live For You)" didn't reminded me of the late David Ruffin. Powered by Epps dry, ragged voice, the track had a breezy, pleading melody and killer refrain that was hard to shake out of your mental playlist. Another album highlight. 3.) Man in Love (Albert Hamilton - Eddie Wingate - Herman Weems - William Garrett) - 2:45 rating: **** stars A song that had not previously been released as a Ric Tic single, "Man in Love" was one of the album's most hardcore soul oriented tunes. Fantastic backing vocals from the group. 4.) Romeo and Juliet's I Don't Wanna Live without You (Albert Hamilton - Hermon Weems*, J. Varner*, William Garrett) - 2:54 rating: **** stars Can a label out-Motown, Motown? If so, this might be an example. Previously released as the "B": side on their fourth single, the track exhibited a nice Four Tops vibe. Epps easily demonstrtaed he could belt it out with as much energy and guts as Levi Stubbs. Add a refrain that Motown would have killed to come up with (which might explain why Berry Gordy paid so much to buy Ric Tic) and you can see why this should have been a massive single for the group. 5.) Just the Lonely (Albert Hamilton - Norma Toney - Richard Morris) - 2:59 rating: *** stars "Just the Lonely" was originally released as the 'B' side accompanying 1967's 'Can't Stop Looking for My Baby'. Sweet ballad with a big, echo sound that sounded like it might have been one of the first things they recorded.
For hardcore fans, Motown's Soul subsidiary re-issued 'I Love You Madly" as a single:
- 1968's "I Love You Madly" b/w '" Love You Madly" (instrumental) (Soul catalog number S-35053)
The group languished on Motown's Soul affiliate for another two years, releasing a string of isolated and quickly forgotten singles:
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1969's "I Feel Like I'm Falling In Love Again" b/w "Pin Point It
Down"
(Soul catalog number S-35058) # 110 R&B
© Scott R. Blackerby May 2025
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Genre: soul Rating: 4 stars **** Title: Alvin Stone (The Birth and Death of a Gangster) Company: Westbound Catalog: W
201 Country/State: Detroit, Michigan Grade (cover/record): VG+/VG+ Comments: -- Available: 2 Catalog ID: 1386 Price: $20.00
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So this may not be the most original concept album you've ever come across, but I love 1975's "Alvin Stone (The Birth and Death of a Gangster)" and anyone who grew up on blaxpolitation soundtracks should rush out to grab a copy. Okay, technically it wasn't a blaxploitation soundtrack since there was no film to go with it, but as a concept album I'd argue it fell in the same aural niche. Produced and largely written by Al Kent (aka Albert Hamilton), the album borrowed liberally from the likes of James Brown, Isaac Hayes, Curtis Mayfield, Norman Whitfield,, and others making it one of those fun spot-the-influences collections. The funky title track pretty much carried the plotline (young under-privileged man turns to a life of crime and comes to a bad end). Probably the album's best performance, 'Words' borrowed liberally from Curtis Mayfield, while 'Have a Little Mercy', 'Let This Moment Last Forever', and the first part of 'My Love Won't Stop At Nothing' allowed James Epps and company to showcase their talents as old-school balladeers. And speaking of Epps; he was the group's secret weapon with a voice that was capable of handling the entire soul spectrum from silky ballads to taunt funk tunes. Shame he didn't get more recognition. (Always loved the Jack L,. Levy designed newspaper story-themed cover art.)
"Alvin
Stone (The Birth and Death of a Gangster)" track listing: 1.) Alvin Stone (The Birth and Death of a Gangster) (Al Kent - Calvin Colbert) - 7:25 The title track opened the album with a wonderful upbeat number that went by in flash. James Epps seldom sounded as good. Admittedly the spoken word narrative and sound effects were cheesy (even back in 1975), but this tune was easily as funky as anything Hayes and Mayfield penned. The funny thing is the tune's always reminded me a bit of The Temptations' 'Papa was a Rolling Stone'. That didn't stop Westbound from tapping it as a single:
- 1975's 'Alvin Stone (The Birth and Death of a Gangster)' b/w 'I Believe in Miracles (I Believe in You)' (Westbound catalog number WT-5009) rating; **** stars 2.) Have a Little Mercy (Al Kent - Calvin Colbert) - 5:35 Pretty old-school ballad that showcased the group's nice harmony vocals. Westbound also tapped this one as a single.
- 1975's 'Have a Little Mercy' b/w 'County Line' (Westbound catalog number WT 5021) rating; *** stars 3.) County Line (Al Kent) - 3:25 Coming as a major surprise 'County Line' reflected a distinctive Southern soul vibe - kind of Memphis/Stax thing going on here. Who would have ever expected it from a Detroit group. The song also had some hysterical lyrics too boot. Would have made a dandy single. rating: **** stars
(side
2) 'Let This Moment Last Forever' could have been the album's prettiest ballad were it not for the inept spoken word raps and the angelic female backing singers that clogged the opening and closing segments. The midsection was a nice, Gospel-tinged love song. rating: *** stars 2.) Words (Al Kent) - 6:00 The slinky 'Words' has always reminded me of a strong Curtis Mayfield tune. Like Mayfield's best work, the song showcased a strong melody and some thought provoking words. Probably my choice for the album's standout performance. rating: **** stars 3.) My Love Won't Stop At Nothing (Al Kent) - 8:00 'My Love Won't Stop At Nothing' started out as a standard ballad before shifting tempo and groove into blaxploitation soundtrack mode. Slinky and one of the album highlights. rating: **** stars
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Genre: soul Rating: 4 stars **** Title: Night People Company: Westbound Catalog: W
226 Country/State: Detroit, Michigan Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 5641 Price: $20.00
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Anywhere but Detroit The Fantastic Four would have been a massive act. Unfortunately, in spite of occasional hits, coming from Detroit they ranked no better than also-rans. That was a shame since these guys were quite talented turning out some 1960s and 1970s sides that were every bit as good as better known competitors.
Produced by Al Kent for Westbound Records, 1976's "Night People" found the quintet (now consisting of lead singer 'Sweet' James Epps, first tenor Cleveland Horne, baritone Joseph Pruitt, and bass singer Paul Scott), trying to blend classic 1970s soul moves, with a dollop of Norman Whitfield-styled real world commentary, and even an occasional disco rhythm. At least on the surface it wouldn't sound like a very promising mix, but for the most part these guys somehow managed to pull it off. Epps was certainly an overlooked jewel. He had a great voice and the other three were first rate harmony singers, giving the album considerable energy throughout. Yeah, sounding like an O'Jays castoff 'Hideaway' was a bit too blatant in its attempt to appeal to the crowd (though overlooking the suffocating orchestration it's grown on me the more I hear it), but powered by some some great harmony vocals and fantastic uncredited guitar (courtesy of Dennis Coffey?), the opening medley 'Night People/Lies Divided By Jive' and 'Don't Risk Your Happiness On Foolishness' were killer slices of Norman Whitfield-styled funk (underscored by Hornes' tenor the latter bore more than a passing resemblance to Whitfield's work with The Temptations). Interestingly Epps old school voice was at its best on the self-penned ballad 'By the River Under the Tree'. Best of the lot was 'If I Lose My Job'. (Funny that I'm listening to the latter track on the eve of Barack Obama's inauguration.) An overlooked gem that showed that deserved far more attention. The album was tapped for a pair of singles:
- 1976's 'They Took The Show On The Road' b/w 'Don't Risk Your Happiness On Foolishness' (Westbound catalog number 5030) -1976's 'Hideaway' b/w 'They Took The Show On The Road' (Westbound catalog number 5032)
"Night
People" track listing:
1.) Medley: Night People / Lies Divided By Jive (A. Hamilton -
C. Colbert / A. Hamilton - Cleveland Horne - James Epps) - 10:57
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2)
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guys. It was almost if they'd bought access to the group in order to ensure
they couldn't compete with the Motown roster. Regardless, Motown's lack of
support was incredibly sad given the fact musical they were
actually a good fit for the label's patented sound. Exemplified by tracks
like the sweet ballad "I Love You Madly",
the ear-candy, mid-tempo "The Whole World Is a Stage"
and "Goddess of Love"
lead singer
Epps had a wonderful, growling voice. His performances have always reminded me a bit of a
cross between David Ruffin ("As Long As I Live (I Live For You)")
and Levi Stubbs ("Romeo and Juliet's I Don't Wanna Live without You").
That's not a shabby comparison. And as
good as their ballads were, the group were equally impressive on up-tempo
tunes like "Can't Stop Looking for My Baby"
and the slinky, bluesy "Man in Love"
they were even better. Judging by these eleven tracks, they were every bit as good as most of the
male vocal groups on Motown- actually better than quite a
few. The fact their only album for Motown was a compilation of
previously issued material was simply sad. That was only underscored by
the shabby packaging - wonder how much effort the Motown marketing team
spent on the album cover ... The fact they never got a chance to record and
album of new material for Motown was even sadder. You could only wonder what would have come
of a true collaboration between the group and Motown heavy weights like
Holland-Dozier-Holland, or Smokey Robinson.
